![]() Read our full Panasonic S1H review for more details You can use 60fps capture and playback for fast action, or 30fps playback for a 2x slow motion effect. The S1H does offer full-frame (uncropped) capture for 4K, with 4:2:2 10-bit internal recording and speeds up to 60p. 8-bit capture is OK for video footage that’s not going to be heavily edited or ‘graded’ later, but if you’re going to apply heavy adjustments and especially if you’re going to use V-Log modes, you really need the extra bit-depth of 10-bit capture to avoid banding, clipping and other artifacts. At this level, though, processing power is the limiting factor, so with 6K or 5.9K capture, you’re restricted to the cropped Super 35mm format. The headline spec is its ability to capture 6K video (yes, 6K), either in a 3:2 ratio at 24p and 10-bit 4:2:0 quality, or 5.9K in a conventional 1:9 ratio at 30p/25p/24p. It’s a very interesting ‘bridge’ between conventional system cameras and higher-end cine gear, especially for existing Panasonic videographers, it has the power for professional video productions. The controls, the interface, and certainly the hardware have been built for video and cinematography, and the fact it’s also a very serviceable 24MP stills camera is a bonus. With the Lumix S1H, Panasonic has used its considerable video experience to bring many of its high-end VariCam features to the Lumix S range. Read our full Sony FX6 review for more details But at this super-wide setting, the view actually becomes shallower (in height) to give the DCI-4K aspect ratio. While the mirrorless camera records only in 4K at 16:9, the FX6 can go to DCI 4K at 17:9 XAVC-I 10-bit 4:2:2 at up to 60p, recording at 600Mbps. So like the A7S III, the FX6 records in 4K at 60fps full frame with no crop, which is stored internally to SD or the same new CFexpress Type A cards as first used in the A7S III. Instead, it inherits the same BSI-CMOS sensor from the Sony A7S III mirrorless camera and also the majority of its video spec and on-sensor phase detection autofocus. The FX6 doesn’t use the same sensor as the FX9, which is actually 6K but downsampled to 4K. These cameras are purpose-made for the job but have lacked the full-frame sensor and advanced AF features that mirrorless camera users are used to, Until now. For shooting video, there is nothing that comes close to using a real cinema camera that has professional controls and ergonomics, multi-channel XLR audio, built-in ND filters, no overheating issues, and very long battery life. ![]() The Sony FX6 answers a real need for filmmakers that Sony's mirrorless Alpha cameras do not. While it shouldn’t be your only guide when purchasing the best cinema camera, seeing that a certain model is Netflix-approved might be something to seriously consider, especially since many cinema cameras are a big investment, and if you want to make feature productions, you're better starting with a camera that can develop your craft and that Netflix will say yes to.ĬFexpress Type A cards expensive and uncommon ![]() This is a very extensive list of certified, that goes into great detail, which can be viewed in full at the Netflix Partner help center. Some of the models on the list are seriously expensive - and would usually be hired by filmmakers - but there are a surprising number of relatively affordable models in there too. ![]() If you want your movie or documentary shown on Netflix, you can't shoot with any old camera - it needs to be one on the Netflix-approved list of cameras.īeing “Netflix approved” means that cameras have the minimum specs required to ensure they offer the expected quality of a Netflix Original. As such, the camera technology decisions Netflix makes matter if you want to get your new film, television series, or documentary you’re shooting shown on the pay-to-view channel. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |